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ON FRiLE PUBLIC VIEW 


AT THE AMERICAN ART GALLERIES 


MADISON SQUAR“ SOUTH, NEW YORK 


BEGINNING SATURDAY, FEBRUARY 11, 1922 
AND CONTINUING UNTIL THE DATE OF SALE 


FURNITURE AND WORKS OF ART 


FROM THE CASTLE FORMERLY OCCUPIED BY 


THE SAVOY FAMILY 


PIEDMONT, ITALY 


AND OTHER 


VALUABLE ARTISTIC PROPERTY 


RECENTLY SELECTED ABROAD BY 


Se RAOUL TOLENTINO 


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SAAN Qe 


TO BE SOLD AT UNRESTRICTED Pl Le SALE 


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ON THE AFTERNOONS OF 
FEBRUARY 16th, 17th AND 18th AT 2.15 AND 
EVENING OF FEBRUARY 17th AT 8.30 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


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DE LUXE ILLUSTRATED CATALOGUE 


OF THE 


FURNITURE AND WORKS OF ART 


FROM THE CASTLE FORMERLY OCCUPIED BY 


THE SAVOY FAMILY 


IN 
VERZUOLO (PIEDMONT), ITALY 


AND OTHER 


VALUABLE ARTISTIC PROPERTY 
RECENTLY SELECTED ABROAD 


BY THE CONNOISSEUR 


CHEVALIER RAOUL TOLENTINO 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON THE DATES HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANTS, MR. OTTO BERNET AND MR. H. H. PARKE, OF “ 
THE AMERICAN ART ASSOCIATION, MANAGERS 


MADISON SQUARE SOUTH, NEW YORK 
1922 


ALL DETAILS OF ILLUST RATIO Nee 


TEXT AND TYPOGRAPHY 


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-A NOTE PREFATORY 


Chevalier Raoul Tolentino has been most fortunate in acquiring 
the entire contents of the Savoy Castle, near Verzuolo in Piedmont, 
for, now that Italy has given most of her art treasures to the world. 
it is seldom that pieces of such historic association can be purchased. 


For many centuries the House of Savoy has been intimately 
connected with the history of Italy. To-day the King of that coun- 
_ try can trace back in a direct line to Umberto Bianca Mano (Umbert 
the White-handed) who died in 1048 and to whom is attributed the 
choice of the site of the Savoy Castle (re-erected in the fifteenth cen- 
tury), just referred to. 


No history of Italy would be complete without a reference to the 
Order of the Annunciation, which was instituted in 1518 by Charles 
III, Duke of Savoy, in this very Castle of Verzuolo. Peculiar interest 
therefore attaches to the Bedroom of the Order, the contents of which 
form a part of the Castle Collection secured by Chevalier Tolentino. 
It formed a place of Pilgrimage for the Knights of the Order, in- 
cluded among whom was the great Napoleon, and there is little doubt 
but that he, following the invariable custom of great personages who 
made this pilgrimage, actually slept in the Fifteenth Century Bed 
with its embroidered hangings, now offered for sale. In this room is 
also a bas-relief sculptured by Giovanni Antonio Amadeo (1447- 
1522), as well as some old furniture, including a set of Walnut Arm- 
chairs with front rails pierced in the form of the famous Savoy love- 
knot, and at least two Gothic Oak Cabinets as well as a carved Walnut 


- Table closely resembling that in the Kahn Collection. 


To the Castle noted artists came to paint the portraits of its ducal 
owners. Sanchez-Coello has resided there, and Chevalier ‘Tolentino, 
after consultation and careful investigation, has satisfied himself of 
the correctness of the attributions to Coello, to Moroni, Mignard and 


Sir Joshua Reynolds and others of merit, though of lesser renown, 


of the many portraits of members of the Savoy family brought from 
the Castle. 


There are other things too, from the Castle, of engrossing inter- 
est, such as the Gothic Fountain pinnacle, the wrought-iron Well- 
head and the set of Petit-point embroidered furniture of the eigh- 
teenth century. 


Chevalier Tolentino’s own collection includes a most notable mar- 
ble bust of Francesco de Laurana (1430-1501), two glazed terra- 
cotta medallions by Andrea della Robbia (1435-1525) ; a picture by 
Difendente Ferrari, early sixteenth century; a profusion of furni- 
ture, comprising some admirable Cabinets, some elaborate Cassoni, 
some excellent Chairs, some well-conceived Tables, and much 
Wroyght-iron work of a surprisingly fine description.. He has also 
a gathering of beautiful Textiles, as well as a number of objets dart. 


In short, Chevalier Tolentino’s own collection, as well as the 
gathering from the Savoy Castle, is representative of the most pains- 
taking and discriminating care. It will assuredly be a matter for 
self-congratulation on the part of those who secure examples at this 
sale to reflect that they came either from the historical Savoy Castle 


or from the collection of Chevalier Raoul Tolentino. 


Horace TOWNSEND. 


CONDITIONS OF SALE 


I. Rejection of bids: Any bid which is not commensurate 
with the value of the article offered or which is merely a nominal 
or fractional advance may be rejected by the auctioneer if in his 
judgment such bid would be likely to affect the sale injuriously. 


Il. The buyer: The highest bidder shall be the buyer, and 
if any dispute arises between two or more bidders, the auctioneer 
shall either decide the same or put up for re-sale the lot so in 
dispute. 

III. Identification and part payment by buyer: The name 
of the buyer of each lot shall be given immediately on the sale , 
thereof, and when so required, each buyer shall sign a card giving 
the lot number, amount for which sold, and his or her name and 
address. 


Payment at the actual time of the sale shall be made of all 
or such part of the purchase prices as may be required. 

If the-two foregoing conditions are not complied with, the lot 
or lots so purchased may at the option of the auctioneer be put 
up again and re-sold. 

IV. Risk after purchase: Title passes upon the fall of the 
auctioneer’s hammer and thereafter neither the consignor nor the 
Association is responsible for the loss or any damage to any 
article occasioned by theft, fire, breakage or any other cause. 


V. Delivery of purchases: Delivery of any purchases will 
be made only upon payment of the total amount due for cll 
purchases at the sale. 


Deliveries will be made at the place of sale or at the storage 
warehouse to which purchases may have been removed. 


Deliveries at the American Art Galleries will be made only 
between the hours of 9 A. M. and 1 P. M. on sales’ days and on 
other days—except holidays, when no deliveries will be made— 


between the hours of 9 A. M. and 5 P. M. 


Deliveries at places of sale other than the American Art 
Galleries wil! be made only during the forenoon following the day 
of sale unless by special notice or arrangement to the contrary. 


Deliveries at the storage warehouse to which goods may have 
been sent will be made on any day other than holidays between 
the hours of 9 and 5. 


Deliveries of any purchases of small articles likely to be lost 
or mislaid may be made at the discretion of the auctioneer during 
the session of the sale at which they were sold. 


VI. Storage in default of prompt payment and calling for 
goods: Articles not paid for in full and either not called for by 
the purchaser or delivered upon his or her order by noon of the 
day following that of the sale will be turned over by the Associa- 
tion to some carter to be carried to and stored in some warehouse 
until the time of the delivery therefrom to the purchaser, and the 
cost of such cartage and storage will be charged against the pur- 
chaser and the risk of loss or damage occasioned by such removal 
or storage will be upon the purchaser. 


NOTE: The Limited space of the Delivery Rooms 
of the Association makes the above requirements 
necessary, and it is not alone for the benefit of the 
Association, but also for that of its patrons, whose 
goods otherwise would have to be so crowded as to 
be subject to damage and loss. 

VII. Shipping: Shipping, boxing or wrapping of purchases 
is a business in which the Association is in no wise engaged, and 
will not be performed by the Association for purchasers. The 
Association will, however, afford to purchasers every facility for 
employing at current and reasonable rates carriers and packers ; 
doing so, however, without any assumption of responsibility on 
its part for the acts and charges of the parties engaged for such 
service, 


VIII: Guaranty: The Association exercises great care to 
catalogue every lot correctly and endeavors therein and also at 
the actual time of sale to point out any error, defect or imperfec- 
tion, but guaranty is not made either by the owner or the 
Association of the correctness of the ‘description, genuineness, 
authenticity or condition of any lot and no sale will be set aside 
on account of any incorrectness, error of cataloguing or imper- 
fection not noted or pointed out. Every lot is sold “as is” and 
without recourse. 


Every lot is on public exhibition one or more days prior to its 
sale, and the Association will give consideration to the opinion of 
any trustworthy expert to the effect that any lot has been incor- 
rectly catalogued and in its judgment may thereafter sell the lot 
as catalogued or make mention of the opinion of such expert, who 
thereby will become responsible for such damage as might result 
were his opinion without foundation. 


IX. Buying on order: Buying or bidding by the Associa- 
tion for responsible parties on orders transmitted to it by mail, 
telegraph or telephone will be faithfully attended to without 
charge or commission. Any purchases so made will be subject to 
the foregoing conditions of sale except that, in the event of a 
purchase of a lot of one or more books by or for a purchaser who 
has not through himself or his agent been present at the exhibi- 
tion or sale, the Association will permit such lot to be returned 
within ten days from the date of sale and the purchase money will 
be refunded if the lot in any manner differs from its catalogue 
description. 


Orders for execution by the Association should be written and 
given with such plainness as to leave no room for misunderstand- 
ing. Not only should the lot number be given, but also the title, 
and bids should be stated to be so much for the lot, and when the 
lot consists of one or more volumes of books or objects of art, the 
bid per volume or piece should also be stated. If the one trans- 
mitting the order is unknown to the Association, a deposit should 
be sent or reference submitted. Shipping directions should also 
be given. 

Priced Catalogues: Priced copies of the catalogue or any 
session thereof, will be furnished by the Association at charges 
commensurate with the duties involved in copying the necessary 
information from the records of the Association. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


EVENING SALE 
FRIDAY, FEBRUARY 17, 1922 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8.30 O'CLOCK 


Catalogue Numbers 366 to 417, inclusive 


PHILIP WOUVERMAN 


Dutrcu: 1619—1668 


366—LANDSCAPE WITH FIGURES 
(On copper) 


Nes IA), V ; Dee cis 41/4, inches; length, 5 inches LO. = 


A tow flat country, with herbage in autumn browns in the fore- 
ground and green further off, and rounded bluish hills in the distance 
under a blue sky banked with creamy clouds. In the foreground, 
equestrians, and other figures gathered about a small fire at the foot 


of a tree. 


BASSANO 


367—LANDSCAPE AND FIGURES WV Qonunecewu 


(On glass; in carved walnut frame of the period) 
| 0 ‘ Height, 7 inches; length, 9 ches 
In a sunny green landscape with trees and blossoming flowers, before 
a blue sky rosy at the horizon, a bucolic scene in the foreground with 


a half dozen figures variously engaged, and clad in brilliant colors. 
Close in the foreground, chickens and goats, and women milking. 


SCHOOL OF GUARDI 


EIGHTEENTH CENTURY 


368—_ROMAN RUINS 
Height, 714 mches; length, 914 inches WW 


At left a building still in repair and beyond it ruins, and before the 
building men in eighteenth century dress beholding an arch preserved 
in a ruined wall on the right, where also are seen other figures. Above 
the arch a tablet with inscription, showing that it was erected by the. 
Romans to the Emperor Vespasian, of the first century. 


VENETIAN SCHOOL 


(Tur Work oF A Master oF Murano) 


369 VIRGIN AND CHILD 
( Panel) 


Height, 18 inches; width, 1414 inches } ‘ Gatisemer 


Tur Mother with especially finely chiseled features and delicately 
rounded cheeks appears at half-length, and facing slightly toward 
the left, standing, and holding the Child on her right arm; each 
with the nimbus. Both are in robes of black and soft vermilion and 
gold, and are limned on a gold background. 


Tfe so 


ANNA BARBARA AB ESCH 


EIGHTEENTH CENTURY 


370—_THE CRUCIFIXION 


as (On glass) 
Bugwat Height, 151% inches; width, 111% inches / he oe 


THE Christ wrapped in a flowing loin cloth of white, above His haloed 
head the mocking title at the top of the Cross, and at its foot the 
two Marys and John in robes white and topaz, blue, crimson and 
scarlet, on barren brown earth. In the background classical archi- 
tecture, and a fading sunset under a darkening gray sky. 


Signed at the lower right: ANNA Barpara ap Escu, Prinxit, 
SuRBACI IN Hetveria, 1744. 


VENETIAN SCHOOL 
SEVENTEENTH CENTURY 
871—A NUN OF THE SAVOY FAMILY Ronee 
Height, 31 inches; width, 241% mches 
HALF-LENGTH portrait of a young woman of clear-cut features and 
dignified mien, quiet eyes and plenty of rosy color, in the garb of a 


nun, white and black. She is portrayed almost full-face to the spec- 
tator, with gaze slightly diverted. 


ITALIAN SCHOOL 


SIXTEENTH CENTURY 


872—A DUKE OF SAVOY 
were Cyt. Height, 28 inches; width, 23 inches 


HaAL¥-LENGTH portrait of a serious looking young man with sensi- 
tive nostrils and mouth, a faint up-curling moustache and short chin 
beard, and dark reddish-brown hair. He wears a white ruff of sinu- 
ous folds, and the cross of Malta conspicuous by its proportions over 
his shining and gold adorned armor. 


As pa 


SCHOOL OF GREUZE 
(JEAN Barr'stE GREUZE) 


FRENCH: 1725—1805 


55, 


40 


373 JEUNE FEMME AU CHAT LL idapie 
Height, 22 inches; width, 161% inches 


Heap and shoulders portrait of a fair and pink-cheeked young girl, 

bust in profile to right and face three-quarters to the observer, gowned 

in silver and green brocade and wearing a white shoulder scarf in 

double fold and a broad Leghorn hat. She holds at her breast a_ 
white cat with brown head. Peal 


(A pendant to No. 374) 


SCHOOL OF GREUZE 
(JEAN BapristE GREUZE) 


Frencu: 1725—1805 


374 JEUNE FEMME AUX FLEURS q 
} 
Height, 22 inches; width, 161 inches d % l . 


HaLr-LENGTH portrait of a fair and plump young lady with large 
blue eyes, and roses in her cheeks, her blond hair of the cendré type 
neatly buund in a white lace scarf and decked with flowers. She is 
facing the observer and turned silghtly toward the left. Black bodice 
décolleté, and laced with gold, and supporting a pink rose and its 
stem of green leaves at the white lace edging. Before her a jar of 
plants. : 


(A pendant to No. 373) 


FRA GALGARIO 


VirToRE GHISLANDI 


(Known generally as Fra Galgario, and known also as Fra 
Paoletto, and as I] Frate da Galgario) 


VENETIAN: 1655-1743 


b 0. 


3875—PORTRAIT OF A MARQUISE OF SALUZZO 


Height, 2384 inches; width, 22 inches 


HALF-LENGTH, seated and facing front, turned very slightly toward 
the left. A woman mature, of blond type, her light hair plainly 
dressed and brushed straight back from her high forehead. Her black 
gown, moderately décolleté, is edged with deep and fine lace at the 
neck, and her cloak reveals broad revers of royal purple. 


ITALIAN SCHOOL 


SIXTEENTH CENTURY 


376—PORTRAIT OF A DUCHESS OF SAVOY 


Height, 23 inches; width, 21 inches 


Hot per /O, 


Art half-length, with tight bodice, and large sleeves puffed and slashed, 
necessitating a generous spreading of the arms. The silken gown 
silvery gray in tone, the slashes outlined in gold and revealing a rich 
ereen underground. A young lady with her brown hair in soft 
puffs and waves, and bound with pearls, while other pearls encircle 
her neck and drape her waist. She wears a broadly spreading ruff of 


delicate lace. 


ALONZO SANCHEZ-COELLO 


US, SPANISH: 1515—1590 


377—DUCHESS OF SAVOY Rati yt. 


Height, 2314 inches; width, 2114 imches 


Portrait at half-length of a beautiful young lady of creamy com- 
plexion, facing the observer, with dark eyes and rose-touched cheeks, 
and carefully done ashen-blond hair showing hints of golden lights. 
A great ruff of Medician suggestion and lace fichu, pearl ear-drops 
and necklace, and pearl ropes draping her breast. Black velvet 
gown with tight waist and puffed and slashed sleeves, adorned in 
gold and the slashes revealing vermilion. 


Note: “He painted many portraits of Philip and other members of the 
royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) 
the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, 
pod aS 


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ALONZO SANCHEZ-COELLO 


SPANISH: 1515—1590 


3878—_YOUNG DUKE OF SAVOY 
3 O ; Height, 2314 inches; width, 21 inches 


A SMOOTH-FACED youth with dark brown hair in careful disarray™is 
portrayed at half-length, facing the spectator and turned slightly to 
the right. Ina ruff of many folds, and apparel of white silk buttoned 
and trimmed in gold and sporadically slashed. Across his breast the 
broad ribbon of an order, dark green. 

Note: ‘He painted many portraits of Philip and other members of the 
royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) 
the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, 


is 14s, 


FRANCE SCO ZUCCARELLI 


ITALIAN: 1702-1 188 


3879 —-LANDSCAPE WITH FIGURES 


; ; Height, 21 inches; length, 2834 inches ye 3 
Far in the distance a mountain range faintly bluish, under a fair 
blue sky filled with white and creamy clouds, and in sunlight in the 
middle distance groups of imposing buildings. Before them, at left 
and right, trees in silhouette against the sky, and in the central fore- 
ground reclining figures, semi-nude, and draped in blue and rose. 


(A companion to No. 380, by the same artist) 


FRANCESCO ZUCCARELLI 


Irauian: 1702—1788 


380—LANDSCAPE 


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OVC eeee Be. Height, 21 mches; length, 28 inches 9: §).i= 


At left and right in foreground and middle distance dense trees are 
in a mellowed shadow, and throw into partial shadow a landscape where 
some dimly discernible figures are gathered about a stream, some 
reclining. In the distance blue mountains with snow-capped peaks, 
under a blue sky banked with white cumuli. 


(A companion to No. 379, by the same artist) 


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SCHOOL OF AVIGNON 


FIFTEENTH CENTURY 


381—THH CROWNING OF THE VIRGIN 


(Panel, in architectural carved and gilded wood frame 


S chau ner, oases tt) DAO 
mensions (inclusive), 361% inches square : 


AT center a throne under a polyfoliate arch, and on it, beneath a bell- 
~ shaped canopy, Christ bestowing a golden crown upon the Virgin, 
the figures in robes of blue-green and purple, the throne and back- 
ground gold. At either side angels in richly colored robes, in musi- 
cal acclaim. Above the arch a clerestory showing blue background. 


ey) 


uy oe Height, 2714 inches; width, 22%4 inches ( 


ITALIAN SCHOOL 


SEVENTEENTH CENTURY 


3824 MARQUIS OF SALUZZO 


Height, 291% inches; width, 22 inches () UL | \ re 


A MAN of keen eye and warm and florid complexion, with dark flow- 
ing locks and pointed chin beard and moustache, observed at half- 
length, standing and facing right, three-quarters front. His dark, 
polished armor is boldly lined in gold, and he wears the collar of the 
Annunziata, and a broad white collar completely overspreading his 
shoulders. 


ALONZO SANCHEZ-COELLO 


SPANISH: 1515—1590 


3883—DUKE OF SAVOY 


At half-length, facing the right, three-quarters front. A youthful 
man with closely trimmed, incipient moustache and chin beard, and 
with a wealth of brown hair worn long and full. In a drooping ruff 
of many folds, and a suit of rich brocade, brilliant yet soft in its 
coloring, its decoration floral sprays naturalistic and conventional. 
Across his breast the blue ribbon of the Annunziata. 


Note: “He painted many portraits of Philip and other members of the 
royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) 
the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, 
Ura Re 


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JUSTUS SUSTERMANS 


Friemisy: 1585—1642 


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384A— PORTRAIT OF A CARDINAL (Duc de Richelieu?) / 
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Oo va 0, 


Height, 2314 inches; width, 21 inches 


Heap and/jshoulders portrait of a man in the prime of life, in his 
eyes the expression of a wide worldly wisdom. He faces the right, 
three-quarters front. High forehead, and thick brown hair brushed 
upward; light moustache curled upward, and lip and chin tufts. He 
is in cardinal robes and a widely flaring white collar. Soft olive 
background. 


DIFENDENTE FERRARI 


LomBARDIAN: Earzty SIXTEENTH CENTURY 


3885—BETROTHAL OF ST. CATHARINE 


(Panel, in architectural frame) eee oe os 4 
Dew Height, 33 inches; width, 34 inches. son 
A composition of four figures, with a classical landscape background, a 
depicting the betrothal of St. Catharine of Alexandria to Christ by 
the Virgin. The Virgin, in crimson and a rich dark green mantle, 
holds the nude Child, who turns to place a ring on the finger of 
Catharine, who is clad in purplish-crimson and a lighter green, while 
Joseph in a rose-colored robe bends forward between the two women. 


A painting resembling Perugino. Difendente Ferrari’s work is now 
held in high appreciation in Italy. 


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GIAN BATTISTA MORONE 


Irauian: 1510—1578 


386—A LADY OF SALUZZO AND HER LOVE 


9 Height, 241% inches; width, 191% inches 9 3 rc 
) ae figure of a young lady of delicate features, figure to 


right and face three-quarters front, seen in a soft light before a neu- 
tral dark background. Her brown hair shows subdued golden notes 
in its carefully done loose folds. She is in a mahogany-colored gown 
with white over shoulders and breast and a white frill at her throat, 
and wears a gold necklace. She is holding up a head-and-shoulders 
portrait of a man of the Rondinelli family (indicated by the swallow 
perched upon its frame)—conjecturally, her fiancé, or her husband. 


FRANCOIS HUBERT DROUAIS 


FRENCH: 1727—1775 


387 “BOY MARQUIS OF SALUZZO ies 


Height, 32 inches; width, 25 inches 


Portrait of a youth of the family of Saluzzo della Manta, observed 
at more than half-length, facing the spectator; in his right hand a 
rake held upright, beside a table on which some flowers are lying. 
He has large dark eyes and a fair, pinkish complexion, and his pow- 
dered hair has the semblance of a wig, tied at the back with blue ribbon. 
Over a long white waistcoat, he wears a coat which in the soft light of 
the painting has the silvery bloom of a purple-blue plum. Conven- 
tional background, dark and of an aerial note. 3 


FRANCOIS HUBERT DROUAIS 


FRENCH: 1727—1775 


388—_BOY MARQUIS OF SALUZZO 7b 


Height, 32 inches; width, 251/, inches 


THREE-QUARTERS length standing figure of a pink-cheeked smiling 
youth, facing front and headed slightly toward the left. In his right 
hand, extended before him, poppies and sheaves of wheat which he has 
just cut—his sickle held in his left hand at his side. He is in an 
emerald green coat and a white waistcoat, and wears a broad trimmed 
hat of Leghorn straw, trimmed with grain-heads and flowers. Out- 
door background of grain-fields and trees, and grayish sky. 


GIOVANNI BERNARDO CARBONE 


Ligurian: 1614—1683 


SB eg tee OF SALUZZO 


Height. 421% inches; width, 36 Ue 


30, 


Por?rrait of a man in ripe life, standing and facing the left, three- 
quarters front and shown at three-quarters length, before a dark neu- 
tral background. He is of warm complexion, with dark brown hair 
falling to his shoulders, and up-turned moustache and small lip-tuft 
also dark brown—the expressive head and the manner of its presen- 
tation carrying a suggestion of Van Dyck, for whose work the painter 
had great admiration, subjecting himself somewhat to its influence. 
The Marquis is in dark, rich robes, and wears a broad white collar and 
the Order of the Golden Fleece. 


ITALIAN SCHOOL 


SEVENTEENTH CENTURY 


390—_MARQUIS OF SALUZZO 
Were vase Height, 43 inches; width, 35 inches / Os 


Portrait of a gray-bearded man partly bald, standing and observed 
at three-quarters length, facing front and turned very slightly to the 
right. His robes are black, relieved only by a narrow white ruff or 
collarette, and cuffs of the same pattern. 


JEAN BAPTISTE VAN LOO 


FRENCH: 1684—1745 


391—M ARCHIONESS OF SALUZZO 
Height, 32 inches; width, 25 inches Uy b, 


ALF-LENGTH figure of a commanding woman with elaborate coif- 
fure, facing the spectator, her head poised toward her right, her 
smiling and somewhat interrogative glance direct. Décolleteé gown 
of olive-gray note, with gold embroidery and white lace at the corsage. 
Enfolded in a mantle of deeply glowing blue, with a rich brocade 
lining having a golden ground. 


Note: “At Turin he painted the Duke of Savoy, and several members of 
his Court.”—Encyclopadia Britannica. 
| “©. . . he visited Nice, Monaco and Genoa, and then went to Turin and 
worked two years for the Duke of Savoy and the Prince of Carignan.”— 
Bryan’s Dictionary of Painters, Vol. III, p. 245. 


| ‘ VENETIAN SCHOOL 


EIGHTEENTH CENTURY 


hen 
392—4 BOY OF THE SALUZZO FAMILY 
| O F Height, 32 mches; width, 25 inches 


‘AT three-quarters length, standing and facing the spectator, with his 
right arm embracing a pet puppy which looks up at him from a pedes- 
tal. He is in a dark blue coat faced with red, and a white jabot pro- 
trudes from his cardinal hued undercoat, while a mantle of faint 
old-rose note falls from his shoulders. 


HYACINTHE FRANCOIS HONORAT RIGAUD a 


Frencu: 1659—1748 


393—A PRINCE OF THE HOUSE OF SAVOY [eee [ 


Height, 32 inches; width, 24 inches 


At half-length, facing right, three-quarters front. In dress armor, 
over which a white lace jabot falls in graceful folds. A man of bold 
features, seen in a warm light, his eyes intent in their gaze. In a full 


chestnut periwig. 


HYACINTHE FRANCOIS HONORAT RIGAUD 


Frencu: 1659—1748 


394_M ARQUIS OF SALUZZO IN CORSELET 


Vyorwwern os ea eight, 29 inches; width, 224% inches Bee 


Bust portrait of a fine-looking young man of blond type, in the great 
periwig of the Louis XIV style, its hue chestnut. Figure to left, 
face to right, three-quarters front. His armor studded with gold, 
and above it a white lace collar with jeweled pin. 


ALONZO SANCHEZ-COELLO 
SPANISH: 1515—1590 


3895—PORTRAIT OF THE DUKE OF SAVOY 


Height, 32 inches; width, 25 inches by (Poses. 


HAL¥-LENGTH, facing the observer, with eyes directed slightly to the 
right. A young man of finely modeled features, with brown moustache 
and imperial, carefully brushed dark brown hair and warm com- 
plexion. He is in dress armor resplendent with elaborate gold orna- 
mentation, the Savoy cross conspicuously overspreading it, and is 
wearing the collar of the Annunciation, below his deep stellate ruff, 
as he stands before the folds of a crimson drapery. 


Note: “He painted many portraits of Philip and other members of the 
royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) 
the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, 
p- 14. 


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ALONZO SANCHEZ-COELLO 
SpaAnisH: 1515—1590 


396—PORTRAIT OF A YOUTHFUL DUKE OF SAVOY 


POA Height, 41 inches; width, 34 inches [/0. 


In dress armor brilliant with gold studding, and wearing a white ruff 
and the order of the Saint-Esprit. Clean-cut and bold features, with 
an incipient moustache and a mass of curly dark hair. Right arm 
akimbo and left hand resting on a red-covered table which also sup- 
ports his plumed helmet with vizor raised, and bearing the fleur-de-lis. 
Dark grayish background. 


Note: “He painted many portraits of Philip and other members of the 
royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) 
the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, 
p. 14. 


PETER POURBUS (the Younger) 


Fremisu: 1513—1584 


397—_MARCHIONESS OF SALUZZO 
2 J 0, H eight, 391, inches; width, 3214 inches | : ‘ 


THREE-QUARTERS length portrait of a fair young woman of smiling 


countenance, with a Medician ruff and lace-trimmed low corsage, 


her ample gown of rich black brocade displaying barreled. sleeves 
banded with pearls and slashed. Ropes of pearls are pinned at the 


breast by a jeweled brooch, and larger pearls encircle her neck and 


bind her light hair. Grayish background. 


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JEAN BAPTISTE VAN LOO 


Frency: 1684—1745 


398—-DONNA TERESA DORIA DI DOLEACQU A, 
COUNTESS OF VERZUOLO 


Height, 301% inches; width, 26 inches 


: I¢o 
ALF-LENGTH portrait of a young lady of quizzical expression, in a 
quilted waist of orange notes broadly adorned in silver-gray, and 
turned over in flowing folds at the low corsage, which is bordered with 
lace. About her shoulders and concealing her arms, a mantle of rich 
blue with silvery lining and bordered in gold. Jewels glisten in her 
powdered hair. In broad light against a dark background. 

‘ On back, the title, with date 1734 and stating the sitter’s 

age as 22 years. 


Note: “At Turin he (van Loo) painted the Duke of Savoy, and several 
members of his Court.”—Encyclopedia Britannica. 


s . he visited Nice, Monaco and Genoa, and then went to Turin and 


Worle two years for the Duke of Savoy and the Prince of Carignan.”— 
Bryan’s Dictionary of Paimters, Vol. II, p. 245. 


JEAN BAPTISTE VAN LOO 


Frrencu: 1684—1745 


399—COUNTESS OF VERZUOLO DELLA MANTA 


HeigAt, 321/, inches; width, 26 inches 
) 


Hatr-Lenern portrait of a fair and large-eyed young woman, with 
powdered hair over which a blue feather curls. She faces the observer, 
figure slightly turned to her right and head to her left, and wears a 
gown of light blue, with lace-edged low corsage and emphasized by a 
bow of darker blue, and over this a soft rose mantle with border lin- 
ing of golden notes. In full light against a dark neutral background. 


Note: “At Turin he (van Loo) painted the Duke of Savoy, and several 
members of his Court.”—Encyclopedia Britannica. 


e . he visited Nice, Monaco and Genoa, and then went to Turin and 


oe ie two years for the Duke of Savoy and the Prince of Carignan.”— 
Bryan’s Dictionary of Painters, Vol. ILI, p. 245. 


HYACINTHE FRANCOIS HONORAT RIGAUD 


FRENCH: 1659—1743 


400—MARQUIS OF SALUZZO 


Q J da 491%, inches; width, 38 inches | 10 


THREE-QUARTERS length standing figure of a young but mature man 
of fresh complexion, with full dark brown periwig and deep white 
collar, facing left three-quarters front. Appareled in crimson with 
gold embroideries, and wearing a parade cuirass adorned in gold 
Over shoulder and elbow a flowing scarf of bleu-de-ciel with silver 
lace trimming. He stands easily, with one gloved hand on hip, the 
other hand bare and resting on a table beside a plumed helmet. Back- 
ground of dark green drapery and a gray sky seen over a parapet. 


FRENCH SCHOOL 
Louis XIV PerEriop 


401—PORTR AIT OF A LADY OF SAVOY 
eight, 81146 inches; width, 251% inches ) ty 


'  Gownep in black, with white crossing her shoulders, and white and 
rose at her sleeves, a stout lady of noble family is portrayed at half- 
length, seated and facing the observer, her hands crossed before 
her and holding a book. Her gown is moderately low at the neck, 
and her reddish-brown hair is confined by a black veil. 


VENETIAN SCHOOL 


EIGHTEENTH CENTURY 


402—A NOBLE BOY OF THE SALUZZO FAMILY 
A : Height, 32 inches; width, 25 inches 


oS: 

HREE-QUARTERS length portrait of a fair-haired boy of rosy com- 
plexion, standing and facing the spectator, with figure slightly to 
right and face turned forward. He is in green of somewhat pale and 
dark shade, with silver buttons and trimming and lace cuffs, and 
wears a sword whose gilt handle he grips. 


FRENCH SCHOOL 


SEVENTEENTH CENTURY 


403—PORTRAIT OF A DUKE 


Q Height, 311 inches; width, 251, inches 0. 


PRESENTED at a little less than half-length, standing, with figure to 
left and head turned toward the right. A young man of large fea- 
tures and wearing a large curled periwig of chestnut hair, and bril- 
liant dress armor with a modicum of gold enrichment. Crimson 
appears at his throat and sleeves, and at his side are some folds of 
blue drapery. 


JEAN BAPTISTE VAN LOO 
FRENCH: 1684—1745 
404—SILVESTER ANTONIO SALUZZO, COUNT OF 
VERZUOLO (1687-1758) 


Height, 32 inches; width, 25 inches lO 


HALF-LENGTH portrait of a large and vigorous man in prime of life, 
smooth-faced and florid and wearing a gray curled wig. Seated, 
with figure to right, and face almost full to the front. His flowing 
silvery-gray robe with gold brocade lining, rolled back, discloses a 
coat equally rich in its golden adornment, and white lace at his breast. 
| On back, name and title of the sitter, with dates of his birth and 
death, in old Italian. 

Note: “At Turin he painted the Duke of Savoy, and several members of 

his Court.”—Encyclopedia Britannica. 
ss . . he visited Nice, Monaco and Genoa, and then went to Turin and 


worked two years for the Duke of Savoy and the Prince of Carignan.”— 
Bryan’s Dictionary of Painters, Vol. Ill, p. 245. 


FRENCH SCHOOL 
Lovis XIV Periop 


405—PORTRAIT OF A DUKE OF SAVOY : 
: Height, 311 inches; width, 25% inches I'S _ 


Har-LenctTH portrait of an austere yet self-indulgent man of pa- 
trician bearing, his vigorous and florid features looking out from a 
great wig, whose curls fall to the brilliant and gold-studded armor 


cae ett 


p which encases him while it discloses his white lace stock. Figure to 
eB right, and face almost full to the front. Over his shoulder a crim- | 
3 son mantle. 


E ; ITALIAN SCHOOL 
4 SEVENTEENTH CENTURY 


406-—DUKE OF SAVOY AS A KNIGHT OF MALTA 


ea gers () f [a Height, 46 inches; width, 36 inches 


A puxr of Shyoy in full dress armor brilliant with gold, and across 
his breast a green scarf with the Cross of Malta in white; right 
es hand resting on his equally brilliant helmet which lies on a table, baton 
hr beside it and high plumes above it; left hand at hip, above his sword. 
A man with dark hair and beard, and deep-sunken eyes, and wear- 
ing a much frilled ruff. Gray background, with galoon-trimmed 


olive drapery. 


JEAN BAPTISTE VAN LOO 


Frencu: 1684—1745 


407—DUCHESS OF SAVOY 
Height, 32 inches; width, 251, ipies 1 0 


Portrait of a lady of affable expression and handsome features, her 
white skin intensifying the depth of her dark brown eyes, a bow of 
purple in her powdered hair, a curl of which is brought forward over 
her shoulder. Face to the observer, with head turned slightly toward 
her right and figure toward her left; seen at little more than half- 
length, with hands concealed. Her décolleté waist of white silk is 
trimmed with lace, and her blue mantle bordered with floral embroi- 
deries in rich colors and gold. In full light before a dark-brownish 
background. 


Note: “At Turin he (van Loo) painted the Duke of Savoy, and several 
members of his Court.”—Encyclopedia Britannica. 


aes . he visited Nice, Monaco and Genoa, and then went to Turin and 


wonted two years for the Duke of Savoy and the Prince of Carignan.”— 
Bryan’s Dictionary of Painters, Vol. III, p. 245. 


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PIERRE MIGNARD 


FRENCH: 1610—1695 


408—M ARIE OF MODENA, QUEEN OF ENGLAND. 
WIFE OF JAMES II 


taal Height, 47 ches; width, 36 inches 10 
OBsERVED at three-quarters length, standing and facing the left, three- 


quarters front, a young lady of fair complexion and rose-tinted cheeks, 
with fair hair in delicate curls, pearl ear-drops and a pearl necklet. 
Décolleté dress in various delicate colors and easy folds, though with 
tight waist, and trimmed with ropes of pearls. With one hand lightly 
holding a pale rose drapery about her hips, the other arm is crossed 
before it to rest on a pedestal, and back of her her coronet reposes on 
a table. Conventional drapery background of dark purplish tones. 


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SIR PETER LEY 
ENGLISH: 1617—1688 


409--MARY OF MODENA, QUEEN OF ENGLAND, WIFE 


OF JAMES II — 
(eel Fows. : | = OER 


Portrait of a bright-eyed, rosy-cheeked young woman, with ashen- 
blond ringlets falling nearly to her bared shoulders, seated and facing 
the left, three-quarters front, and seen nearly at full length. She is 
in gray satin, the tight bodice topped by a, corsage scarf of delicate 
olive, caught up with jewels, and her gown is trimmed with an abun- 
dance of pearls. More pearls edge her ermine-lined mantle of rich 
blue. Her coronet reposes in a window at her side, from which crim- 
son portieres are drawn away to form a part of the background. 


LOUIS TOCQUE 


Frencu: 1696—1772 


410—MICHELE ANTONIO SALUZZO 
Monsu (Seigneur) della Manta, as a Boy 


Neca Height, 51% inches; width, 34 inches a 4 


FULL-LENGTH standing figure of a chubby youth with matured fea- 
tures, facing the observer and slightly turned toward the left, shown 
in an attitude of play with a pet dog which he holds on a purple leash, 
a small lash whip raised in his right hand. _ His cheeks are rosy, his 
ringlets powdered, and he is in blue throughout, trimmed with gold 
and scarlet, and wears red-laced buff boots. Conventional background 
of drapery, architecture and landscape. 


On back, name and title of sitter, with his age, 4 years, and 
the date 1734. 


SIR JOSHUA REYNOLDS, P.R.A. 


Eneuiso: 1723—1792 


411—PORTRAIT OF BENEDETTO SALUZZO 


(In original carved wood frame) 


QW OA Keio 58 inches; width, 40 inches oe 


THREE-QUARTERS-LENGTH, standing figure to left, and face to the 
front. A large man, of full years, with goodly color in his vigorous, 
smooth-shaven face, which is framed in a full shock of white hair. In 
scarlet coat heavily trimmed in blue and gold, and blue under-coat also 
with heavy gold trimming, and lace cuffs. In his right hand a baton 
poised upon a drapery-covered table before him. Dark neutral back- 
ground. 


Across the bottom of the canvas a long inscription, with the family coat of 
arms, probably placed there by another hand after the painter had finished the 
portrait, and describing the sitter with all his titles: Don Benedetto Saluzzo 
della Manta, Knight of the Grand Cross of the Holy Religion, and of the Mil- 
tary Order of SS. Maurice and Lazarus, General and Inspector-General of f 
Cavalry, Colonel of His Majesty’s Dragoons, Knight of the Supreme Order 
of the Annunziata and Governor of Saluzzo. This is dated 1750. [Reynolds 
went to Rome in 1749, remaining in Italy, south and north, until 1752. | 


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ALONZO SANCHEZ-COELLO~ 


SPANISH: 1515—1590 


412—PORTRAIT OF A DUKE OF SAVOY 


iWwereewwers: Height, 74 inches: width, 39 inches S50 ‘ 


FULL-LENGTH standing figure of a well-poised man in youthful matu- 
rity, with high-tilted ruff, the collar of the Annunziata and the cross 
of Savoy, and holding a baton. In dress armor with elaborate orna- 
mentation in gold based on the Savoy love-knot. He has large eyes 
and warm complexion, and light brown chin beard and moustache, and 
faces the observer. Olive draperies in background. 


Note: “He painted many portraits of Philip and other members of the 
royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) 
the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, 
p. 14; 


ALONZO SANCHEZ-COELLO 


SPANISH: 1515—1590 


418—PORTRAIT OF A DUCHESS OF SAVOY 
Sr Corey Height, 74 inches; width, 391% inches 
35, 


A FAIR young woman with gray-blue eyes, and a creamy complexion 
tinged with rose, stands facing the spectator before an olive back- 
ground arched with rose draperies trimmed with galloon. She wears 
a broadly spreading stellate ruff, the broad and rigidly spread bell 
skirt of the time, with tight bodice, and her puffed sleeves are slashed, 
her gown being gray satin with formal green and gold adornment. 
Her right hand, holding a fan, rests on a crimson-covered table. 


Note: ‘tHe painted many portraits of Philip and other members of the 
royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) 
the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Pamters, Vol. VY, 
Dass 


ALONZO SANCHEZ-COELLO 


SrpanisH: 1515—1590 


414—PORTRAIT OF A YOUTHFUL DUKE OF SAVOY 


S LeU é Height, 74 inches; width, 401% inches | | ; 
} 


FULL-LENGTH standing figure of a smooth-faced young man with 
brown eyes and dark hair, facing front with head turned slightly to 
his left, in white silk hose and shoes, and body armor heavily gilded 
and displaying the Savoy knot. Over it a purple sash and the collar 
of the Annunziata, and about his neck a looped ruff. At his elbow his 
helmet, matching his armor and surmounted by brilliant white and 
scarlet plumes. Under an arch of golden-olive curtains, he stands 
on a floor of dull vermilion, well lighted. [This portrait hung in the 
Bedroom of the Collars of the Annunciation, in Savoy castle. | 


Note: “He painted many portraits of Philip and other members of the 
royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) 
the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, 
Dele: 


ALONZO SANCHEZ-COELLO. | 


SpanisH: 1515—1590 


415—4d DUCHESS OF THE HOUSE OF SAVOY 


\oveeuree sel Height, 74 inches; width, 38°4 inches on. lo 0 be 
~ Portrait of a handsome young woman, with features approaching the pi 
masculine type, standing and facing the observer, with right hand 
resting on an armchair at her side, and displaying a ruby thumb- 
ring. She wears a black velvet gown with golden undersleeves and 
trimming, a jeweled gold girdle and a double rope of pearls. Pearls 
adorn her hair, and her face is set off by a narrow pointed ruff. . Dark 

olive background with golden-brown draperies. 


Note: “He painted many portraits of Philip and other members of the 
royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) 
the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, 
p. 14. 


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ALONZO SANCHEZ-COELLO 
SPANISH: 1515—1590 


416—PORTRAIT OF A DUKE Bae 
Werir Height, 72 inches; width, 39 inches ) Ls 


SranvinG figure of a middle-aged Duke of Savoy, wearing the collar — 
and mantle of the Order of the Annunziata, the crimson mantle show- 
ing rich golden adornment in which the Savoy knot is conspicuous. 
He is a man of prominent features, rather light in complexion, with 
dark brown hair and beard. His hands protrude from the great 
mantle, the left holding the golden. hilt of his sword. Neutral brown- 
ish background with dark olive draperies. 


Note: ‘He painted many portraits of Philip and other members of the 
royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) 
the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Paiters, Vol. V, 
p. 14. 


ALONZO SANCHEZ-COELLO 


SPANISH: 1515—1590 


417—A DUKE IN DRESS ARMOR 


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Oubw (ft: Height, ‘74 inches; width, 401/ inches o* 


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Portrait of a Duke of Savoy with large and deep-set eyes and warm oe 
olive complexion, with hair, moustache and beard dark brown. A 
narrow ruff appears above his shining waist armor richly adorned 
with gold, and gold again enriches his apparel below, while his legs 
are encased in plain gray silk tights. He wears the collar of the 
Annunziata, and a sword, and also carries a stick, and his left hand 
rests on a gaily plumed helmet on a table at his side. Dark background 
with golden-brown draperies. 


Note: “He painted many portraits of Philip and other members of the 
royal family. He also painted the Popes, Gregory XIII and Sixtus V; (and) 
the Dukes of Florence and Savoy.”—Bryan’s Dictionary of Painters, Vol. V, 
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